Linda Schnell, an artist with arthritis, has an enduring fascination with the intersection between art and science. She recognizes like tumbling sea glass, living with arthritis can be a rough journey. Her background in engineering along with a passion for collecting beach treasures inspires Linda to create mixed-media sculptures with her signature style of layering sea glass with special beach finds, clay art, and fused glass.
Red Octopus Sea Temple
Besides being a member of the PNW Glass Guild, Linda is also a proud member of the International Sea Glass Association promoting use of genuine sea glass, education, and conservation, seaglassassociation.org.
Hot Pink Siren Sea Temple
Sea Bloom
Killer Whale Blues
In the description of each piece she details what beach the sea glass came from, what other media she has incorporated and whether any of the piece fluoresces or has other interesting properties. She also does custom pieces using glass collected by her clients. Sea Cairns sales help support the Arthritis Foundation, arthritis.org, Friends of the Issaquah Hatchery (FISH), issaquahfish.org, and Center for Whale Research, whaleresearch.com. You can see more of Linda’s art at Sea-Cairns.com and in the Parklane Gallery artist collective in downtown Kirkland, WA.
My name is Kathie Wise, I live in St. Helens, OR. I’ve been making glass on glass mosaics since 2016.
I specialize in backgrounds, using many different cuts, sometimes combining more than one or two. I have occasionally taught classes. The substrate used is small enough so that the entire gluing part of the mosaic is completed in one day. I then grout each piece on another day.
Kathy Wise
I’ve always been fascinated that some artists can draw people that looked like people, others can paint a seascape that actually looks like you are there. I’ve tried my hand at drawing but have never able to achieve the results I was looking for. Thinking I had no talent, I gave up the notion and quit looking for an outlet. Then I met Kory Dollar and that all changed.
In April of 2016, my husband, Dave, was creating greenhouses out of wood-framed windows. He entered one such greenhouse into the annual St. Helens Home & Garden Show, and sold it too. Meanwhile, Kory Dollar, was in the same event, selling her glass on glass mosaics. At the time, she was using wood-framed windows as substrates for her mosaics. She and Dave met, admired each other’s talent, and soon started talking about a partnership. I met Kory that weekend. As the two of them ironed things out, Kory suggested I come over to her shop for a private class in GOG.
Since I was in denial of having any talent, it took me a month or so before I took her up on the offer. When I did, she had me choose a picture out of a coloring book of what was to be my first mosaic. It was a red cardinal on a branch. She taped that picture to the back of the glass. I learned the rudimentary stages of cutting glass, gluing each piece of colored glass to the front side of glass, following the lines of the picture. Kory helped me a lot. Between the two of us, we got it finished, but it took a few days. By the time I grouted it I was so impressed that I was hooked and I’ve never looked back.
Years ago, when Kory was becoming known as a teacher in glass on glass mosaics, she would travel to many different counties to teach others how to create their own mosaics. In the early days, she wasn’t always able to fill them with students. That’s when I would ride along with her and be one of her students. Later, Kory was invited to teach mosaics in different states, including Texas, California, Washington, and Nevada and I went with her.
I became Kory’s assistant a few years ago and have probably been involved in over 100 workshops, learning something new in each class. I believe I get the most joy out of helping others find that “aha moment. I also teach students to grout on the final day of each workshops.
So now, 9 years later, I’ve just completed my 99th mosaic. They are all different sizes, of all different things, from trees to flowers, mermaids, Big Foot, Christmas Ships, Hot Air Balloons, rainbows, birds of all kinds, cats, butterflies, a mountain scene, under sea gardens, bicycles, a fire breathing dragon, an angel, even the Eye of Ra! It’s all so fun. Some are 3-D, using two frames with a section of wood separating the two pieces of glass. Many of my mosaics are from vintage glass blocks that come in different sizes. Dave drilled holes in them to create a place to install fairy lights, which in turn creates night lights. Even after all this time of being immersed in GOG, I still find working on the larger mosaics the most challenging. Primarily it’s because they take so much time, AND they are much harder to sell because they cost so much more. It would be different if I was working on a commission, where I have an agreement with the buyer for a certain amount of money.
Mosaic of ‘Hildie’ the witch.
I joined the PNW Glass Guild with the expectations of selling my art through the Guild-sponsored events. I also wanted to meet other glass artists who specialize in different forms of glass art. I’ve never held a position on the Glass Guild Board and have no interest in pursuing any. I am having way too much fun just creating my mosaics.
I’d always been drawn to glass art, especially glass paper weights and stained glass, but it had never occurred to me that it was something that I might be able to create myself. That changed in 1998 when my wife and I took a class in stained glass at Roses Glassworks in Tigard. I was immediately hooked and after careful consideration, decided that I enjoyed it enough to justify buying my own tools and investing in a grinder. Little did I realize how those decisions would evolve into the hobby that would consume most of my free time and finances for the next quarter century and more.
I subsequently learned about glass fusing and decided to explore that with my first kiln in 2000. Unbeknownst to me at the time, the Oregon Glass Guild, which has since evolved into the Pacific Northwest Glass Guild, also got its start that year thanks to George Kjaer, an amateur glass blower in Eugene. The guild soon expanded to include chapters in the Gorge and Portland, where I discovered it and began attending meetings and taking classes. I kept asking why the OGG website wasn’t being updated and soon found myself being tasked with building an entirely new website and being invited to join the guild board of directors. I wound up serving as webmaster and board member in various capacities through about 2016.
As happens with many volunteer run organizations, only a few people actually volunteer for leadership positions and those leading the Portland chapter were getting burnt out after many years at the helm. I naively accepted an invitation to dinner one night with those current leaders at which I was shanghaied into becoming the new Portland chapter President in 2008, continuing through the end of 2010. A couple of years later, facing the possibility of seeing the guild disband due to a lack of leader candidates at the state level, I volunteered to be the state president was served in that role from 2012 through 2014.
I’ve since retired from guild leadership but have remained involved with the guild as it has grown into the PNWGG. Most notably, my wife and I have worked with fellow guild member, Linda Gerrard to host classes at our studio where guild members have an opportunity to learn from visiting glass artists that are leaders in their field. The first work I created and exhibited at the Gathering of the Guilds show was pretty basic stuff; coasters, business card holders and the like. I didn’t sell much, but I was having fun.
I soon began to develop a style and became known for work that was primarily based on straight lines and geometric patterns. For a period of time, I was really into reproducing quilt patterns in glass
Then in 2009, inspired by the work of Steve Immerman, I started working with strip construction. That’s where you cut narrow strips of sheet glass, about 3/8” wide, then stand them on edge to create 3mm wide lines. That technique allowed me to create much more intricate patterns, such as my Bargello Platter which is still one of my favorite pieces I’ve ever done.
After the Bargello Platter, I continued to pursue the idea of creating “pattern bars” using strip construction, then cutting them on a wet tile saw to create components that could be assembled into complex patterns such as this bowl with a woven basket motif.
And this wavy piece that I call Magic Carpet.
I love experimenting with new techniques, so my work tends to jump from one extreme to another over time. In 2022, I was intrigued by Paul Tarlow’s “frit stretching”. Not being one to follow directions though, I decided to try using pieces of pattern bars instead of frit and came up with a series of pieces I call Time Portals. Some people have commented that this example makes them think of a faceted diamond.
I’ve long admired the work of Ian Chadwick because it was also based on the same type of straight-line intricate patterns that I had striven to create with strip construction. However, Ian’s work used stringers rather than the edges of 3mm sheet glass, so he was able to create more detailed patterns than I had managed. Last December, I had an opportunity to take a class from Ian to learn the details of how he creates his pieces. Ian works almost exclusively with 45 and 90 degree angles when cutting components for his work which gives his pieces a characteristic look that is unmistakably his. Wanting to differentiate my work, I decided to see if I could apply his technique while using 30, 60 and 90 degree angles and came up with this piece that I call Fusion Reactor.
Another artist whose work I admired is Glenda Kronke. I purchased a video class of her teaching the technique she uses glass powder to create fantastic “Coral” like works. As usual, wanting to differentiate my work from hers, I experimented with variations on her methods to develop my own ways of working. I do enjoy making Coral pieces that resemble Glenda’s, but I am especially happy with this open weave technique that grew out of my experiments. I especially like the shadows that these pieces cast when lit from above.
David blows a challenge piece during RefractSeattle.org every year. This one was into driftwood.
If you get glass blower David Smith talking about glass, local or otherwise, you’ll find it both informative and entertaining. He has been working with glass and the people who do it for a long time. As the owner/operator of Blowing Sands Glass and the attached Laura Frost Gallery in the Ballard neighborhood of Seattle David is among the few guild members who have an actual open-to-the-public workspace (you do need to make an appointment and wear a mask). His students rate his classes very highly and his class schedule is often filled two months ahead.
He was introduced to the art of glass blowing in 1978 while studying for a degree in Materials Science and Engineering at MIT. His final two years were spent in the Materials Artifacts Laboratory where he did analysis on man’s earliest evidence of ceramic processing, the pigment used in cave paintings, and worked on a project tracing the transfer of porcelain technology from China down the silk road to Europe. His thesis subject was soft-paste porcelain produced in France during the 18th Century. After graduating in 1983, he returned to Seattle and started working full-time as a glass blower.
In 1987, he bought a one-way ticket to China and then traveled across Asia and the Soviet Union, and spent the next 5 years living and working with artists in Finland, Germany, France and Ireland. He returned to Seattle in 1992 and established his own studio/hot-shop in Ballard. His art glass has been collected and appreciated around the world, and his glass castings are installed in the Atlanta Federal Building as well as public and private buildings in the northwest. His work is an extension of his technical background in glass science and his love of the traditions and history of glass blowing throughout the world.
Blowing Sands will be one of the stops on Seattle’s Art In Bloom garden art studio tour and sale April 26-27 so you can easily be tempted to get one of his colorful balls, birds or other pieces for your yard. You can see more of David’s work at BlowingSands.com
Sean Goddard, www.seangoddardinsects.com, originally hails from Mississauga, Ontario. He began dabbling in glasswork while living in Whistler in the 1990s. What began as a hobby quickly turned into a cottage industry for Sean as he began to sell his new creations at the markets and galleries in the region.
“At some point , I made my first insect piece inspired by a book called An Inordinate Fondness for Beetles. One thing led to another and I was fortunate enough to have gained a buying audience that allowed me to carry on. The desire to further delve into the glasswork is met equally with the enjoyment of the biodiversity of nature in the insect world. There is so much colour and form that I don’t think I will ever tire of it and hope to continue to evolve my work to represent a slice of that world”
Currently, Sean Goddard Insect Sculptures are created on Salt Spring Island, British Columbia. You can find them at various premiere shows located throughout the Pacific Northwest (see more info here) and Sean Goddard Insects Salt Spring Island Gallery (location details here).
For a closer look, watch this video provided by www.SaltSpringLife.com or come see him and his work at the NW Flower and Garden Show Feb. 19th – 23rd in the Seattle Convention Center, booth 1116.
As a new member of our Glass Guild, it is such a pleasure to be a part of this vibrant community and to share a bit about myself with all of you. My art background is deeply rooted in my connection with nature. Growing up in the San Francisco Bay Area, I frequently immersed myself in the outdoors (sometimes literally), exploring the rivers, coast, and redwoods. It was in my father’s backyard studio that I first began working with stained glass, bringing to life a variety of flora and fauna, both real and imagined.
Fast forward to today: After engaging in studies of fine arts and zoological sciences, followed by nearly two decades of crafting grand, innovative creatures for theatrical productions worldwide with Oregon’s Michael Curry Design, I have rekindled my passion for glass. Now, with a unique fabrication perspective, I strive to create my own, exquisitely smaller works for more intimate audiences.
In addition to my passion for mechanics and kinetics, I work with a diverse range of mediums, including glass and porcelain, papers and textiles, gouache, wood, brass…and of course light!
The forests and waters of the Pacific Northwest offer sumptuous depths for my studies, and have become the sole inspiration for my current works. Currently focused on oceanic themes, I can still often be found along the coastline, exploring and observing the diverse environments. I have included images of some of the concept sketches and glass studies I’ve been exploring. Presently, I am working on similar glass sketches of bubbles, barnacles, anemones, and whales. I look forward to sharing my completed body of work once my studies are finished!
Robin concept and sketch
School of Fish
Ocean Inversion study
3 Sunset sketches
In addition to my own artistic endeavors, I have been studying with Narcissus Quagliata for the past 3 years. This summer, I had the pleasure of working beside the maestro on his new masterpiece, “The Bench”, here at Bullseye Glass in Portland. It was also a joy to collaborate with our fellow Guild artist, Carlyne Lynch, and the amazing crew at Bullseye Glass. As my journey with Narcissus continues, I am honored to soon become a teacher and coach for his new “Painting With Glass Community”, beginning in 2025.
I wish you all great success with your own creations and I look forward to sharing more of our artistic journeys together.
Andrew and Narcissus
Andrew working with Narcissus on “The Bench” at Bullseye Portland
After years of professional education and workforce program administration, policy work and teaching it became clear to me that my heart and soul required me to engage in an activity that created an actual product…and that need found fruition when I became totally engaged and immersed in artistic work with glass—I discovered that an artist lived inside me!
Since I lived near I was able to take my beginning training in workshops at Bullseye. I met and learned from many wonderful glass artists there and through my membership in the early days of the Guild. When I retired I was very fortunate to be accepted to train with Klaus Moje at a summer session at Pilchuck! That workshop was amazing, Klaus of course was wonderful, as was Steve Klein and the whole cohort of students. Many of my fellow students are lifelong friends and active leaders in today’s glass community.
My work in the glass studio is filled with the reflection of light through luminescent sheets of glass. I am alternately calmed and excited as the kilnforming processes of cutting, grinding, firing, and polishing of the glass produces vessels or sculptural works of art that I enjoy and that others find joy in also.
Red glass, whether opal or transparent inspires me! Often it seems to just jump out of the glass bins onto the cutting table demanding to be fashioned into something that makes a bold statement or simply raises my spirits !
Glass can almost seem magical. The chemical makeup of the glass, its color and composition can create amazing reactions that change, enrich and surprise. This piece is an example of reactions in action!
This Petrified Wood Bowl features the reaction that fusing BE Petrified Wood glass on Robin’s Egg Blue glass generates. This bowl is finished with a black enamel lip wrap.
Techtonics was inspired by the syncline formation in the cliffs along the Columbia River near Lyle, Washington. The syncline in this piece is achieved using the natural edges of the hand poured glass layered to resemble the folds in the rock formation.
My love affair with glass and my skills and expertise in working with it, have naturally aligned with my experience and love of teaching. So, in addition to my personal work in the studio, I also enjoy sharing my skills with adults and young people who might just want to make something beautiful with glass, or with others who are beginning an exploration of the glass medium and hopefully will begin their own artistic adventures.
I’m so glad I can continue my guild membership even though I now live in Montana. I appreciate the news of all the activities you all continue doing to bring gorgeous glass to the community. Know that if any of you are traveling to/through Missoula, MT or the Bitterroot Valley I’d love to hear from you…and to get together for a visit if you have time! See my Members’ Gallery page or my website for more info
(Terri is having a candle holder class in Hamilton MT if you happen to be in the Missoula area December 7th)
Fused glass captured my heart & imagination from the first class I took in 2006. Glass has such a draw through the color and light it brings to its environment and is wonderful for both decorative & functional uses.
I work at my home studio in Gresham, Oregon. The process to create one piece can involve several firings over many hours. This involves cutting, torch-working pieces to add to the project, assembly, firing multiple times in the kiln, and finally cold-working as needed to create a quality product and finish. It is still a joy to learn new techniques from classes and other artists.
My work is currently available at the Vista House Gift Shop at Crown Point, in Corbett, Oregon, at the Spiral Gallery Coop, 341 Broadway Street, Estacada, Oregon and can be seen at various shows throughout the year. More of my work can be seen on-line or contact me
My initial introduction to glass began in 1975-1977 (blown glass) when I studied under Herb Babcock at the College for Creative Studies in Detroit. I was a commercial photography major with a blown glass minor at this fledgling design school. Following this early interest in glass, my studies and career took me in the direction of medicine, from which I ultimately retired after a 25-year career.
Following my departure from medicine, my life became way more interesting when I met Fred Buxton here in Washington. He was my initial fused glass instructor (along with Bullseye online classes) and I remember my first piece of fused glass as a closeup Ahi (tuna) eye. Fred was very encouraging…and I was hooked.
Currently, I am the owner of Enso Art Glass LLC, located in Shelton WA. I’m fortunate to have a 1,000 square foot dedicated studio where I create flat and vessel shaped glass, mostly in larger formats. Based on my previous knowledge of chemistry, most of my work focuses on reactive glass and laboratory grade powdered metals creating new reactive effects.
Most recently, I’ve been experimenting in the use of an airbrush to deposit the powdered metals and Bullseye powder on reactive glass before firing. I’m constantly reading and exploring how I can use products from outside of the glass world to meet my needs, thus experimenting with an airbrush.
I feel strongly that light is an integral part of glass art, and I’ve been experimenting with edge lighting my glass (transillumination) using LED strip lighting. I just completed a 12” x 22” aquarium panel that comes alive at night utilizing LED edge lighting.
I am currently looking for students to share some of these techniques and for us to create together. Please contact me for details. More of my work can be seen in the Members’ Gallery.
I started working in stained glass in the early 1980’s. I enjoyed doing hobby pieces for fun and gifts. While living in Wallowa, Oregon I opened a studio in my house, participating in local shows and doing some commissioned pieces for installation in private homes.
In about 1995, I took a class in Portland on fusing and got hooked. It wasn’t long before I found a used kiln to purchase. Through many experiments, I learned a lot about fusing, including many things not to do again. In 2002, I moved the Eugene area where I became involved with Eugene Glass School. I took classes from a variety of instructors and got involved with a vibrant glass community. There was a lot going on: shows, classes, and others to work with. The year 2013 took me to Astoria to help my dad, resulting in somewhat of a break from glass work.
After my father’s passing and a divorce, I landed in Salem. I have set up a studio here at my house giving an occasional beginner class and the last 3 summers participating in Saturday Markets in Salem, Silverton, and Astoria. I just wrapped up my second season at The Oregon Garden “Art in the Garden” and will be participating in a number of holiday shows. It has been great to get to know other glass artists in the PNWGG. I was looking for other artists to work with, learn from, and be challenged by.
I’m looking forward to getting to know others and becoming more involved in a variety of things. This last spring I participated in Gathering of the Guilds and volunteered as I could. As part of showing at Saturday Markets, I made a lot of garden stakes of various sizes, wind chimes, and a variety of garden oriented items. I am interested in trying new things and being challenged by new projects. Come say hello to me at Carlyne Lynch’s studio #1 on the Open Studios Glass Art TourSeptember 14-15!
I started my glass art journey in 2012, then joined the Oregon Glass Guild in 2013. Many people ask how I got started making glass art. I’ve attended art fairs around the Portland area for many years and was always drawn to the glass displays. One day a friend said “you know you can learn to do this yourself”. Of course I was shocked that was possible, but thrilled when I found Aquila Glass and began my journey.
For the first several months, I used the pretty glass to make plates and bowls When I tired of that, I started making decorative nightlights, ornaments, and more intricately decorated plates and bowls. I would bring them to work to show my friends and they all wanted to buy my creations. Not only did they buy what I brought in, they also ordered commissioned pieces as well.
Since I didn’t own my own kiln yet, I took everything to a nearby shop and rented their kiln. I think everyone knows what a pain cleaning and reassembling all those little pieces of glass is! My husband was so surprised by all the pieces I was making and selling that he surprised me with a kiln for Christmas of 2012. That kiln had a 12” shelf and it took only 3 years for me to add another kiln with a 20” shelf. That was a real game-changer for me. By this time I was getting bored making plates and bowls, but really enjoyed designing and creating more artistic pieces.
It didn’t take long for me to want to take classes from people whose work I admired so I could learn new techniques and improve my skills. After taking several classes from local glass artists and admiring the work of others further away, on behalf of the Guild, I contacted one of my favorite artists to see if they would come to Portland to do a class. I did that for four or five years and all the participants were thrilled they could take these classes locally.
As far as a technique I am known for, there are actually two. Several years ago it occurred to me that I could mimic the Bullseye rolled edge and use it as the top of my artwork. Oddly enough, someone once told me I needed to work on my cutting skills so my piece had a straight top edge. Obviously, this was an intentional design element. The second thing is that I prefer to leave texture on my pieces. Most of my pieces are landscapes, so I first create my background and mid-ground before full fuse firing, then I tack fuse my foreground on leaving a lovely texture that catches the light and sparkles. Additionally, it draws people in to touch the piece for tactile enjoyment as well as visual.
I really enjoy creating beautiful, realistic landscapes and pieces with animals or birds. When people see my work in person, they always say how beautiful it is and that they’ve never seen anything like it. It’s such a challenge and I feel very pleased when I create a piece that has great depth and proper perspective making it feel like you’ve “been there” or you could walk right into the scene. The most challenging aspect of this art form is putting down enough powdered frit to give the intensity of color I want. This is especially true for transparent pieces where the color can sometimes just disappear during firing.
I’m always interested in learning new techniques or trying new products. I find that I rarely take a class then simply repeat the process to make another and another. Instead I usually find some part of it that I particularly like and incorporate that into my work. I think this is why people tell me they’ve never seen anything like my glass art; because it’s a combination of techniques. That being said, I have taken classes and purchased products that just don’t appeal to me and I either don’t use them or I find a way to incorporate just a little of what I learned into what I do. I’ll be bringing some of these unused items to the bargain table at the Guild picnic August 11th at Gail Haskett’s in Battle Ground WA. Hope to see you there!
I have been deeply moved by the transformation, connection and magic that occurs when separate materials are brought together to form an integrated whole. This theme is central to my work with mosaics, mosaic jewelry, and glass fusion. Many times, my work will incorporate all three together.
Each project begins by gathering materials, such as different sizes and shapes of glass, ceramic tiles, semi-precious stones, charms, beads, buttons, and smaller found objects. Assembly then begins with placement of color, patterns, and texture into the designed project. The result may be in the form of a piece of mosaic jewelry, a representation of a bird’s feather or other life form, some visual movement like flowing water, or an abstract landscape design. Always my focus is on harmony and integration of materials. If the artwork is only made using glass, I fire it in a glass kiln where more transformation takes place through the application of heat.
Artistic work for me is a metaphor for living a satisfying, balanced, and harmonious life. To live this way, it is important to explore the elements that work and fit together, discard or transform what doesn’t, and keep going deeper, ever changing, and discovering. It is my hope that my artistic creations telegraph and inspire that sense of depth, harmony, and balance.
I live and have my studio in The Dalles, Oregon on the beautiful Columbia Gorge. I really enjoy all the amazing things you can create with glass. I started taking stained glass classes in the late 1990s and loved it. I was in a metal clay class with long time Guild communications volunteer Charlene Fort and she introduced me to fused glass in 2014. She has become my best friend and the rest became history.
I’ve assisted teaching classes in schools and other people’s studios. I recently taught a Play Day on making molds for freeze and fuse. We had great fun and a lot of laughs. I just did a demo on the same subject at the Vendor Fair in Seattle. I’m anxious to try what I learned in a recent class in alternative freeze and fuse as well as learning to make flash glass and use those techniques for new projects.
When the Gorge chapter of the Oregon Glass Guild was still active I served as president. In the Pacific Northwest Glass Guild I am currently team lead for both Communications and Sponsorship. I would encourage all of the members to try and find a spot where they could help out. It doesn’t have to be a long period of time or time consuming. You can find a link to the volunteer opportunities on the main page of our web site.
I joined the guild because of the information they provide, the fun potlucks, Christmas parties and the play dates. As well as the perks we receive from the people and business that contribute to us. We gain so much from being in the Guild. And it is wonderful to to have a page in the Members’ Gallery that I can use as my website.
Hello from sunny Alberta … home of the Wild Rose. Located just ten minutes from the Edmonton International Airport, we relocated to Leduc in the summer of 2023.
My glass interested started in 2010 when we were holidaying in Quartzite Arizona shortly after retiring from my day job as Director of Human Resources for the City of White Rock.
We joined the local Rock and Gem Club and started taking classes in everything they had to offer.
Memories of Spring
I kept hearing about this amazing woman named Greta and finally got to meet her. I enrolled in her beginners glass class and discovered dicrohic glass…it was just as sparkly as all the rocks we had been grinding in the lapidary shop. I was hooked from day one and Greta and I became best friends. When I returned to Canada I did not have anyone to keep my learning going so spent hours on the internet and Facebook connecting with other glass artists who were willing to help with my journey. I am forever grateful to them.
I discovered that I love to experiment and without any formal art training, did not know what I was supposed or not supposed to do so pushed a lot of limits. My husband still sometimes ask me if I am really going to make something or just play. In my quest for learning I have experimented with just about every process and technique out there.
I had the pleasure of hanging out with Dennis Brady (Glass Campus and Victorian Art Glass) who also loves to experiment so sometimes we were like two mad scientists. An example was when I was testing enamels for him. We mixed them with so many mediums including Murphy’s oil soap and liquid shortening…glad he was the one who had to fire them as the stink was awful but we had interesting results. I joined him in Las Vegas as his TA at the Glass and Bead Expo show…loved the experience but it was exhausting.
Poppy Fields
Spring Bear
Here’s Looking At You
Angel of Death
One of my visits to Portland, Greta took me to a Guild Board meeting and I was so happy to find an organization that had such great glass artists and best of all, they invited me to join them…it has been a wonderful experience. I have served in the role of Membership Director and a member of the newsletter team. I am not an active seller as I love donating my work to the various charities I belong to or support.
I have taken courses from artists such as Kelly Crosser Alge, Cheryl Chapman, Marguerite Beneke, Evelyn Gottschall Baker, Bob Leatherburrow, Alice Benvie Gebhart to name a few. Currently I am studying with Narcissus Qualiatia who is an incredible, creative master of glass. My next course will be with Derek Hunt…I love learning as much as I love experimenting.
Sunflower
Connections Across the Universe
Bruno
My teaching involves students who are interested in learning all aspects of glass which makes for wonderful long term relationships. Recently I introduced my Leduc students to my Vancouver Island students. We decided to do a new project each month together. This month’s project is a creation using glass leaves…lots of freeze and fuse, casting, grinding, and painting happening.
Glass Maple Leaf
Autumn Pleasure
I love that there is always something new to learn with glass and that it keeps you humble. Just when you feel like you have mastered something, you open the kiln and the kiln gods give you different outcome than you expected. It keeps me coming back…again and again.
I have been attending one or two glass fusing classes per year for 20 years! This does not make for an experienced craftsman! I have to relearn everything each year. But my passion for anything glass began immediately, when I toured the art glass manufacturers here in the PNW 20 years ago. What a privilege to be exposed to so much diversity and talent in the art glass field.
I joined the PNW Glass Guild a few years ago at the behest of Sheri Spurlock, the owner of Melt Glass. She informed me of the discounts available to Guild members. Soon after, I attended Guild meetings and special events and found this open, glass-enthusiastic community. It has been a wonderful experience from the get-go; from becoming aware of all the fusing techniques to the camaraderie of other enthusiasts. This past year I attended classes offered by Ann Cavanaugh and Kory Dollar – learning two completely different glass techniques.
Now I am in a position to focus, which I’ve yet to do! My goal is to solidly understand the techniques of glass fusing and glass-on-glass mosaic work. In appreciation to the Guild for what it has offered me, I’m serving this year as Membership Chair. As with any organization, there are too few people and too little time to cover all the duties to make it run smoothly. It’s my privilege to be here! Hope to meet you all along the way!
I grew up in a flourishing craft city in upstate NY. Taking advantage of the rich culture, I took many classes from Genesee Arts Co-Op and RIT to become a potter. I enjoyed this craft for more than 15 years. When I moved to the West Coast, I became interested in glass, and I took a Mosaic class with a friend at Marvelous Mosaics Fine Arts. After that I was hooked! I love glass with all the different colors and textures. The class was great, and our teacher Kory Dollar was so knowledgeable and patient. Since then, I have gone on to take several other classes from Kory to extend my knowledge in color, composition and glass cutting. To broaden my glass experience I have taken classes at Bullseye and Melt. Both are excellent resources to learn different techniques.
Through friends I joined the PNW Glass Guild and was cajoled into becoming the Guild’s treasurer. I’m now in my second two-year term. And despite the hard work, it’s been a great way to meet other artists in the Guild.
I have shown my work at the 2023 PNWGG Gathering of the Guilds (GOTG), Shirley Bishop’s Open Studio tour last September, and the Portland Artisan Holiday Market. I will be at this year’s 2024 PNWGG GOTG at a group booth and also as a cashier on April 19-21st in Portland. I hope to see you there!
Shirley in part of her studio on the PNW Glass Guild’s 2023 Open Studios tour
I’ve been in love with all things glass since a very early age and never realized it until I had the opportunity to explore glass fusing myself in 2013. At that point I was blessed to have the opportunity to grow my love of glass into a business, Studio13 GlassArt, which I founded with the goal of mastering all the elements of glass used in design while instructing others how to do the basics. Why Studio13? My oldest brother (of 5) who also loved glass and dabbled in fusing, died in 2013 from ALS. He was a special person in my life. As well, the numbers 1, 3, 13, 31 all represent important dates in my life. Last of all, Friday the 13th is always my lucky day!
Every day I dream of taking my glass to the next level. Situated on 20 beautiful wooded acres in Washougal, WA, my 1,200 square foot studio/workshop/gallery which was once our home has become a venue for weekend workshops and hopefully more in the years to come. I welcome anyone and everyone to visit my studio and enjoy the aura of creativity that seems to blossom more and more every day. In the 10 years I have been doing this I have developed a unique style that is all my own. My creative designs are recognized by those in the Pacific Northwest seeking local art. Over the years I have taught hundreds of students and have built a loyal following of collectors who appreciate the beauty and craftsmanship of my work.
Shirley shows off her frit storage: fired samples on every lid
Shirley’s newest heART piece will be at the one-day Camas HeARTfest art show and sale on February 10th. She also participates in the Washougal Studio Artists Spring tour in May and the PNW Glass Guild’s Open Studios tour in September.
Seattle, Washington (Debbie is now helping produce our newsletter)
I was introduced to glass fusing in 2018 by a friend who invited me to a class at Moltenworks Glass Studio in Woodinville. Although I had never considered myself artistic, I found the three-dimensional nature of glass absolutely fascinating, and couldn’t wait to go back. Thanks to the amazing support and mentorship of PNW Glass Guild members Wendy Hatch and Karen Seymour, as well as the very patient and kind folks at Moltenworks, I’ve learned so many new skills in the past five years and am I excited to be developing my own “voice” as a glass artist.
I particularly enjoy the variety of textures that you can create with fused glass and I continue to explore new techniques. I’ve also become involved this year as a volunteer with the Guild, helping behind the scenes with the newsletter and the website, because I value connecting with other artists and the many learning opportunities that are available as a Guild member.
Lesley Kelly is the incoming 2024 Board President. She started doing stained glass in 2004, learning from classes at Cline’s Glass after her daughter went to college. In 2008, she began fusing. Since then, she has tried her hand at multiple forms of glass art, including glass blowing, beads, fusing, stained glass, mosaics, etc.
The light coming though glass and creating colors fascinates Lesley as well as the idea of creating nature through art. Lesley creates a lot of bubble glass and has also been working with the new delicate disco method taught by Amanda Simmons. This method uses powder to create glass squares that are then slumped in drop rings to create bowls or other pieces. When asked what new techniques she wants to try right now, she replied, “I just need time to work on the ones I have learned in the past few years!”
Lesley joined the glass guild in 2004 and started helping Charlene Fort with running the Gathering of the Guilds (GOTG) shows. She served as volunteer coordinator for that as well as the information booth for the show for a lot of years. She was the membership chair of the Guild for two years, then treasurer for three years, and volunteered to chair the GOTG in 2021, 2022 and 2023. Her goal is to make the Guild a resource for all members, have meetings that really draw members to them, and to get the Guild on a good financial footing.
Barb Kienleis the incoming 2024 Board Co-Vice President.
Barb lives in Portland and attended the Gathering of the Guilds for many years. She always found herself drawn to the Glass Guild section, marveling at the beauty of the pieces and the talent of the artists. One year her husband gave her a kiln for Christmas. She has no idea how he decided that was a gift she would want or use, but it sat in its box for two years in the garage. With an all-consuming career and very little free time, she felt overwhelmed by learning how to use a kiln. However, as her retirement approached, Barb decided to take a class at Bullseye Glass.
In the class, Barb learned how to cut glass and made a simple plate. Very basic, but it was enough to boost her confidence and she went home to unpack the kiln. That was 5 years ago. Basically self-taught through videos and trial and error, Barb credits some wonderful artists she has met along the way who have generously shared information and techniques with her. She tries to pay that forward when meeting others who are learning.
Barb enthuses, “I love the texture of tack and contour fusing and I love flowers and beach scenes. I do a couple events a year to sell things so I can replenish my glass supplies.” She now splits her time between Portland and Arizona. When they decided to spend the winters in Arizona a few years ago, she told her husband that she could not go 5 months without doing glass, so they set up a small studio space in their garage in Arizona. Barb loves being able to work all year with glass and hosts open studio times for friends in AZ.
Barb joined the Glass Guild at the suggestion of a friend who said it was a great way to be part of the glass community and learn from others. She reflects, “I am not the most outgoing person, but have tried to participate in some of the events and have always felt welcomed. I look forward to sharing the Vice President position with Carlyne Lynch and continuing to learn from all of you.”
